Mississauga-based jazz-pop vocalist Heather Christine revisits her solo travels in France with a fresh, Latin-infused take on the Cole Porter standard, accompanied by the renowned Bill King Trio.
When Mississauga, Ontario-based jazz-pop vocalist Heather Christine graduated from college, she set out for a solitary backpacking trek to France. That adventurous trip and feeling of empowerment at the time has now come full circle with her latest single, a fabulous rendition of the Cole Porter standard “C’est Magnifique.” Accompanied by the Bill King Trio, and found on the forthcoming EP entitled Heather Christine with the Bill King Trio, the single is a trip down memory lane for Christine while musically having some lovely Latin edge and moxie.
“‘C’est Magnifique’ was the first cover song that I have ever recorded,” Christine says. “It’s a song that sweeps me away to my happy place. Traveling solo gave me the chance to push through my fear and revel in the delight of a dream come true. We captured the essence of this experience for me personally with ‘C’est Magnifique.'”
Christine, who felt “overwhelmed” by the architecture, food, and music France had to offer, says “C’est Magnifique” is a song of “joy and beauty” in a world that seemingly increasingly has dark clouds brewing. For the vocalist, a deeply personal issue with fertility proved challenging. However, music served as an emotional and spiritual balm to the situation.
“Even though my husband and I were battling with this heartache behind closed doors, creative and musical opportunities kept coming for me, lifting me up and taking me to new places,” she says. “Music reminds me to keep the faith.”
That faith served as the catalyst behind recording “C’est Magnifique” which appeared in Porter’s 1953 musical Can-Can. After wrapping up work with her husband Matt Zaddy under the moniker River North, Christine visited Toronto’s Kensington Sound studio in the summer, located in the vibrant Kensington Market. From there Christine, Bill King (who produced “C’est Magnifique,” played piano, and has worked with The Pointer Sisters and Janis Joplin among countless others), bassist Paul Novotny, and drummer Mark Kelso reimagined the song, something difficult for such a signature piece of the Great American Songbook.
“King’s approach to ‘C’est Magnifique’ wasn’t one of mere nostalgia,” Christine says. “Instead, he sought to honour the song’s French cabaret roots while infusing it with the vibrant, percussive heartbeat of Cuban rhythms.” That rhythm is executed to perfection thanks to Kelso and Novotny who give the song a warm, punchy, and vivacious energy. “In their hands, ‘C’est Magnifique’ transformed from a classic show tune into a mesmerizing dialogue between culture and eras,” King says.
Christine describes King’s arrangement as “a beauty.”
“It’s a unique balancing act of Cuban rhythm and contemporary cabaret sensibility,” Christine says of the song, which brings to mind the work on Gloria Estefan’s 2013 album The Standards. “The trio’s interplay allowed the song to breathe in new ways, offering listeners a journey through time and place, where café society met the heat of the tropics.”
“C’est Magnifique” is one of four tracks (three covers and one original) found on the forthcoming Heather Christine with the Bill King Trio. It’s a release that came from just two recording sessions at Kensington Studios and the latest for Christine, who previously worked with King on her 2023 single “Walking With You,” a track heard on Toronto’s Jazz FM and internationally in the United States, Europe, Australia, and South Africa. Also in 2023, Christine performed with the iconic Liberty Silver as part of “Isn’t She Lovely,” a concert celebrating women in music. Christine created and produced the show which was held at the Oakville Centre for the Performing Arts. That same year, she received the Music Artist of the Year Award during the City of Mississauga’s Ward One Community Excellence Awards.
Additionally, Christine is an ardent community advocate for Mississauga, creating the West Vocal Jam musical outreach program whose singers were featured in 4 events in 2024. And she’s performed at Toronto’s Redwood Theatre and Mississauga’s Celebration Square, the latter before a crowd of approximately 25,000. In 2019 Christine released her debut EP Love In Colour. Prior to her debut EP, the musician won the Best New Artist Award in 2018 presented by Mississauga Music.
Now with a new single in “C’est Magnifique,” a new EP, and an EP Release concert slated for Mississauga’s Clarke Hall on Feb. 23, things are looking bright for Heather Christine in 2025. She has delivered a song whose playful style, substance, and delivery live up to its title!
Hi Heather! Good to see you again! How’s your year been so far?
Thank you Canadian Beats. 2025 is making me buckle my seatbelt and get ready for a ride! So far, this year has been ‘wham-boom-bam’ fast. My husband Matt Zaddy and I started 2025 with a winter trip to old Montreal. Since we got back life has been filled with performances, new creative projects, and a small surgery. I have fully recovered now and am back to performing. I’m thrilled to have engagements coming up in the next few weeks with Grammy Award-Winning Liberty Silver, Bill King, and of course my husband Matt Zaddy. I just found out the new single is being played on 31 stations around the world…So my head is spinning to be honest!
C’est Magnifique is your first-ever recorded cover song. What made this the perfect song for that milestone?
C’est Magnifique sweeps me away to my happy place. I love Paris and the French lyrics remind me of its beauty. The song sparks memories of a solo backpacking trip to France I took at 23. Traveling alone gave me the chance to push through my fear and revel in the delight of a dream come true. I was having the time of my life! The architecture, the art, the food, and beauty was out of this world. The Bill King Trio and I captured the essence of this experience with ‘C’est Magnifique.’
The song has a Latin twist while staying true to its French cabaret roots. How did you and Bill King approach balancing those influences?
Bill’s approach to “C’est Magnifique” wasn’t one of mere nostalgia. Instead, he sought to honour the song’s French cabaret roots while infusing it with the vibrant, percussive heartbeat of Cuban rhythms. To achieve this delicate equilibrium, he enlisted two maestros: bassist Paul Novotny and drummer Mark Kelso, each a virtuoso in their own right.
Paul Novotny, known for his exquisite touch and deep, resonant tone, brought an effortless elegance to the arrangement. His playing—always melodic, never intrusive—provided the harmonic backbone, allowing the melody to float like silk on a summer breeze. Meanwhile, Mark Kelso, a master of groove and texture, infused the rhythm section with a simmering Latin pulse that felt both fresh and timeless. Kelso’s drumming, a precise blend of Afro-Cuban syncopation and contemporary jazz sensitivity, lent the performance a lively yet controlled energy.
In their hands, “C’est Magnifique” transformed from a classic show tune into a mesmerizing dialogue between cultures and eras.
The song’s lyrics express joy and beauty. How do you personally connect with its message, especially in today’s world?
Music is a balm for the soul. I think we have to keep striving for beauty and joy in this world regardless of the pain and strife. C’est Magnifique was written by the great composer Cole Porter for his musical “Can Can”. The song is an ode to love and romance. When I perform this song for audiences, I can immediately see the positive response. It makes people happy and that gives me great joy. Especially during these tumultuous times, I feel music is a gift we all need to use. Music brings us hope and joy so we can persevere through life’s challenges.
You’re not just a performer but also a community leader with projects like the West Vocal Jam. How does your work in Mississauga’s music scene influence your own creative process?
I feel it’s our responsibility as artists to open doors for one another. We have to truly “see” each other and make space for the younger ones coming through. It’s our responsibility to give back to help nurture the well-being of the arts community. That’s why I created the “West Vocal Jam” program to help provide a safe space for our vocalists to shine. I have 15 years of working professionally in the not-for-profit field as an arts administrator previous to my full-time singing career. I have paid my dues and know from lived experience how difficult it can be to make it as a professional artist in Canada. However – it is not impossible. It can be done. We have to work with society at large to keep teaching people the value and role of the Arts in healthy communities. The artists in my community are life family to me. I will champion for them until the day I leave this world. I know the struggle and I want to make a difference. I have been so fortunate to have had many mentor artists appear in my life and show me the ropes. People like my late vocal teacher Eleanor Calbes and Bill King who see my value and help to open doors for me. These are very generous souls who weren’t afraid to share their tips and advice to help you progress. I think of these individuals more like family. I will always strive to give back and do the same for younger artists.
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